Unlike the purely "microphone singers", then, he had a career in Opera, even if it lasted just three years.
As one can see from the sound films in which Herbert Ernst Groh played, he was a good-looking man and a fairly capable actor. From onwards he turned away from opera, devoting himself entirely to operetta and the then fashionable hybrid, the musical revue.
Ingeborg Hallstein | jozomibola.tk
He scored especially notable successes in ltaly and it was there that he made his first records under the name Ernesto Groh. Then he returned to Germany, where he became one of the most successful radio tenors of his day. Many recordings date from this time, with Groh singing opera scenes, operetta melodies, hit tunes and folksongs. On the radio there were no limits to the tenor roles he could sing, and he appeared in several highly regarded opera productions, among them Rossini's "Semiramis".
He also recorded an aria from that opera. In the thirties and forties Groh was a frequent guest at all the radio stations in Germany, and he occasionally took part in variety programmes, the so-called "Bunte Abende". After the Second World War he appeared as an entertainer in many European countries. His career lasted until the s.
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Herbert Ernst Groh's manner of singing is clearly modelled on that of Richard Tauber. But Groh's emulation went so far that even people who are quite knowledgeable about voices would find it difficult, when listening to some recordings, to say for certain who was who.
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Your browser does not support the audio element. Her repertoire of operatic roles reveals an artist who has an accurate and smart sense of her own musicianship.
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Her voice was well focused and she was capable of commanding dramatic phrasing and emotional expression. In opera she sang some of the most demanding roles in the coloratura Fach, e.
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